Alan Metter

Alan Metter (December 19, 1942 – June 7, 2020) was an American film and television director whose career spanned advertising, music videos, sitcom episodes, and feature comedies, with his most notable works including the 1980s hits Back to School (1986) and Girls Just Want to Have Fun (1985).^[1] Born in Sharon, Massachusetts, and raised in the Boston area, Metter began his professional life in advertising at the prominent agency Doyle Dane Bernbach, where he honed his creative skills before pivoting to directing music videos for artists such as Olivia Newton-John and George Harrison, as well as specials for comedians like Steve Martin and Rodney Dangerfield in the late 1970s and early 1980s.^[2][1] Transitioning to television, Metter directed specials like Steve Martin: A Wild and Crazy Guy (1978), The Winds of Whoopie (1983), and Rodney Dangerfield: Rappin' Rodney (1984).^[3][1] His feature film debut came with the dance comedy Girls Just Want to Have Fun, starring Sarah Jessica Parker and Helen Hunt, followed by the commercial success Back to School, which featured Rodney Dangerfield in a breakout role and grossed $91 million worldwide.^[1][2][4] Subsequent films included Moving (1988) with Richard Pryor, Working Tra$h (1990) starring George Carlin and Ben Stiller, Police Academy: Mission to Moscow (1994), Billboard Dad (1998), and The Growing Pains Movie (2000).^[1][2] After residing in the Hollywood Hills for much of his adult life, Metter relocated to South Florida in 2009 and died in Fort Lauderdale at the age of 77.^[2][1]

Early life

Childhood

Alan Metter was born on December 19, 1942, in Sharon, Massachusetts.^[5] He was known from an early age by the nickname "Butch."^[3] Metter was raised by his parents, Marvin Metter and Sylvia Metter (later Sylvia Wallick), along with his stepfather, Dave Wallick.^[5] The family resided in the Boston area during his childhood, where he spent his formative years immersed in the region's cultural environment.^[6] This upbringing in Massachusetts provided the backdrop for his early development, fostering a foundation that later influenced his creative inclinations. These early explorations into intellectual and creative ideas reflected a budding curiosity that extended to broader artistic expressions, though specific childhood activities in the arts remain less documented.^[2]

Education

Metter attended the University of Arizona, where he majored in philosophy and graduated in 1965.^[3][7] During his studies, Metter described himself as performing in the middle of his class while immersing himself in 19th-century American Pragmatism, a philosophical tradition that emphasized practical consequences and real effects as vital components of meaning and truth.^[5] This engagement shaped his worldview, leading him to adopt the motivational principle, "If it works, it's good," which later influenced his pragmatic approach to creative decision-making.^[8] After graduation, Metter relocated from the arid Southwest to Los Angeles to pursue early professional opportunities in the creative industries.^[7] This move marked a significant shift from his Massachusetts roots to the bustling urban environment of the West Coast.^[3]

Career

Advertising beginnings

After graduating with a degree in philosophy from the University of Arizona in 1965, Alan Metter spent two years working at Liberty Mutual Insurance, where he wrote print ads and brochures, before transitioning to advertising.^[8] In the late 1960s, he secured a position at the renowned Doyle Dane Bernbach (DDB) agency in New York by presenting a portfolio of his work augmented with samples from a colleague, convincing the firm to create a role for him despite no immediate openings; he started as a copywriter earning $6,400 annually.^[8] At DDB, Metter honed his creative skills by writing print, radio, and television spots for major clients including Volkswagen, Jack in the Box, and American Airlines, focusing on concise messaging that captured brand essence.^[3][8] These assignments allowed him to apply practical problem-solving to visual and narrative elements, shifting from abstract philosophical inquiry to tangible commercial production. His background in philosophy informed a pragmatic ethos encapsulated in his later mantra, "if it works, it's good," which emphasized effectiveness over theoretical purity in creative output.^[8] By the late 1970s, Metter advanced within DDB to directing commercials, where he refined his visual storytelling techniques through fast-paced, persuasive formats that demanded innovative camera work and audience engagement.^[2] This period solidified his foundation in the creative industry, blending scriptwriting precision with directorial vision to produce impactful advertisements.^[9]

Transition to film and television

In the late 1970s, Alan Metter transitioned from his advertising background at Doyle Dane Bernbach to directing music videos, leveraging his experience in crafting concise visual narratives for short-form entertainment. This shift allowed him to apply skills honed in creating engaging television commercials to the emerging medium of music videos, marking a pivotal move toward film and television directing.^[2][10][1] Metter's early music video work included directing several for Olivia Newton-John, such as "A Little More Love" and "Deeper Than the Night" in 1978, which featured buoyant, mini-production styles that showcased his ability to blend performance with dynamic visuals. These projects, filmed at shared locations for efficiency, helped establish his reputation in the nascent video format alongside assignments for artists like George Harrison and Donna Summer.^[11][12][13] A key collaboration came in 1978 when Metter directed and co-wrote the NBC television special Steve Martin: A Wild and Crazy Guy, blending concert footage from the Universal Amphitheatre with Martin's signature sketch comedy. This hour-long program highlighted Metter's talent for pacing humor and music in live-performance settings. He later produced and directed another Martin special, The Winds of Whoopee in 1983, a sketch comedy variety show that aired opposite the miniseries The Winds of War and featured guests like Bill Cosby and David Brenner.^[14][1] Through these music videos and television specials, Metter built a strong foundation in short-form content, gaining industry recognition that paved the way for opportunities in feature films during the early 1980s.^[10][2]

Major films

Alan Metter's directorial debut came with the 1985 teen dance musical Girls Just Want to Have Fun, starring Sarah Jessica Parker as aspiring dancer Janey Glenn and Helen Hunt as her rebellious best friend, set against the backdrop of a competitive Chicago dance show. The film explores themes of youthful rebellion, friendship, and the pursuit of personal freedom through high-energy dance sequences inspired by 1980s MTV culture, though production faced challenges with choreography as neither lead actress was a trained dancer, requiring the use of doubles for complex routines.^[15][10] Critically, it received mixed reviews for its formulaic high school antics and lighthearted but unremarkable style, earning a 40% approval rating on Rotten Tomatoes, yet it has endured as a nostalgic 1980s time capsule for its bubbly energy and soundtrack featuring Cyndi Lauper's title track.^[16][17] Metter followed this with two major comedies in 1986, marking a peak in his career. Back to School, starring Rodney Dangerfield as self-made millionaire Thornton Melon who enrolls in college to support his son, blends fish-out-of-water humor with themes of family redemption and anti-establishment satire, allowing Dangerfield's improvisational style to shine in scenes like the iconic "Triple Lindy" dive. The film was a commercial triumph, grossing over $91 million domestically against an $11 million budget, becoming the sixth-highest-grossing film of 1986 and solidifying Metter's reputation for fast-paced ensemble comedies.^[18] It holds an 81% Rotten Tomatoes score, praised for its crowd-pleasing wit and effective use of Dangerfield's persona. Later that year, Metter helmed Police Academy 3: Back in Training, the third installment in the slapstick franchise, where Commandant Lassard (George Gaynes) and his misfit alumni return as instructors to save their academy amid budget cuts, emphasizing ensemble physical comedy and character-driven gags with performers like Steve Guttenberg and Michael Winslow. Grossing $43.6 million domestically, it continued the series' formulaic success but received middling reviews for repetitive humor, with a 36% Rotten Tomatoes rating, though it highlighted Metter's skill in managing chaotic group dynamics honed from music video work.^[19][20][10] In the late 1980s, Metter ventured into varied genres with mixed results. Moving (1988), featuring Richard Pryor as engineer Arlo Pear uprooting his family to Idaho for a job promotion only to face relocation mishaps, tackles themes of midlife crisis and domestic chaos through Pryor's physical comedy, though production was complicated by Pryor's declining health from multiple sclerosis, limiting improvisation and affecting the film's energy. It earned $10.8 million at the box office and a 33% Rotten Tomatoes score, critiqued for uneven pacing despite strong supporting turns from Dana Carvey and Randy Quaid.^[21][10] Metter's final notable 1990s feature, Cold Dog Soup (1990), a black comedy starring Randy Quaid as a cab driver helping a young couple (Frank Whaley and Christine Harnos) dispose of their deceased dog, satirizes urban absurdity and moral dilemmas with quirky, episodic humor drawn from Stephen Dobyns' novel. It struggled commercially and critically, with reviews decrying its repetitive script and lack of cohesion, though some appreciated its offbeat premise; this reflected Metter's evolving style toward darker, more experimental comedy amid shrinking opportunities.^[22] Metter also directed the TV movie Working Tra$h (1990), starring George Carlin and Ben Stiller as janitors who profit from Wall Street trash, blending satire on finance with Carlin's deadpan humor; it aired on Fox but received limited attention.^[23] Later projects included Police Academy: Mission to Moscow (1994), the sixth entry in the franchise set in post-Soviet Russia, which grossed modestly ($126,247 domestic) and earned poor reviews (0% Rotten Tomatoes) for outdated humor.^[24][25] He helmed the family comedy Billboard Dad (1998) with the Olsen twins as twins scheming to reunite their parents via billboards, a direct-to-video release that capitalized on their popularity. His final directing credit was the TV movie The Growing Pains Movie (2000), reuniting the Seaver family cast for a reunion story.^[26] Throughout the 1980s, Metter established himself in comedy with a knack for vibrant pacing and star-driven narratives, leveraging his advertising and music video background to create accessible, feel-good entertainments that captured the era's exuberance. However, by the 1990s, his output declined amid industry shifts toward franchise fatigue.^[3][10]

Personal life and death

Health challenges

Throughout his life, Alan Metter survived three types of advanced cancer.^[8] His resilience in the face of these illnesses allowed him to continue creative pursuits well into his later years. The health challenges significantly altered Metter's lifestyle, prompting a relocation from his longtime residence in the Hollywood Hills to South Florida in 2009.^[2] This move to Fort Lauderdale aligned with his retirement from active filmmaking, where he focused on personal projects, including designing an award-winning summer home in Truro, Massachusetts.^[5] The transition to a warmer climate and slower pace reflected a pragmatic adaptation to ongoing health management needs. Metter's experiences reinforced his philosophical outlook rooted in 19th-century American Pragmatism, which he studied at the University of Arizona, encapsulating his mantra: "If it works, it's good."^[5] This approach, emphasizing practical results over theoretical perfection, extended to his work ethic.^[8]

Death

Alan Metter died on June 7, 2020, in Fort Lauderdale, Florida, at the age of 77 from a heart attack.^[3] His son, Julian Max Metter, an assistant director, confirmed the details to The Hollywood Reporter.^[3] Despite having survived three types of advanced cancer earlier in his life, Metter's death came suddenly.^[2] In the wake of his passing, family members reflected on his personal impact; Julian Metter described him as "a great friend, an adoring partner, an amazing father and the best grandfather ever," noting that his father's final decade had been filled with love, family milestones, and professional fulfillment.^[7] Industry peers and friends paid tribute to Metter's humor, talent, and enduring legacy in 1980s comedy films such as Back to School and Girls Just Want to Have Fun, which captured the era's pop culture spirit and continued to resonate with audiences.^[3][7] Filmmaker Michael Kagan, who knew Metter since 1973, remembered him as possessing a "unique mind" and "one-of-a-kind talent," calling the experience of knowing him a profound gift.^[5] Similarly, longtime friend Rick Sandack hailed Metter as "one of the funniest and most beloved" figures in their circle, expressing sorrow at his abrupt departure.^[5]

Filmography

Feature films

Alan Metter's feature films, directed primarily in the 1980s and early 1990s, are mostly comedies with occasional ventures into other genres.

• Girls Just Want to Have Fun (1985): This teen musical comedy follows a high school student aspiring to appear on a dance TV show; it stars Sarah Jessica Parker, Helen Hunt, and Lee Montgomery.^[1]
• Back to School (1986): A comedy about a wealthy businessman enrolling in college to support his son, featuring Rodney Dangerfield, Sally Kellerman, and Burt Young.^[2]
• Moving (1988): A family comedy depicting the chaos of a cross-country relocation, with Richard Pryor, Beverly Todd, and Randy Quaid in lead roles.^[1]
• Cold Dog Soup (1990): A dark comedy about a man inheriting a bulldog and dealing with absurd situations, led by Randy Quaid, Frank Whaley, and Christine Harnos.
• Police Academy: Mission to Moscow (1994): The seventh entry in the comedy series, involving police officers combating crime in Russia, starring Ron Perlman, Christopher Lee, and Charlie Schlatter.^[27]

Television work

Metter's television directing career commenced in the late 1970s, including episodes of sitcoms such as The Jeffersons, One Day at a Time, and Too Close for Comfort. He also directed music videos and promotional spots that showcased his advertising-honed skills in fast-paced, visually dynamic content. He directed several early music videos for Olivia Newton-John, including "A Little More Love" (1978), which featured studio recording and photo shoot scenes; "Deeper Than the Night" (1979), emphasizing atmospheric nightclub settings; and "Totally Hot" (1979), highlighting the singer's energetic performance style. These videos, among the first wave of promotional clips aired on emerging outlets like MTV, helped establish Metter's reputation for blending music with narrative elements in short-form television. He also helmed 30-second promotional spots for artists such as Steve Martin, Electric Light Orchestra, and Donna Summer during this period, often incorporating comedic or performance-based vignettes.^[11][28][10] In 1983, Metter expanded into longer-form television with the NBC special The Winds of Whoopie, a one-hour sketch comedy variety show starring Steve Martin that parodied the concurrent miniseries The Winds of War. The production compiled Martin's stand-up routines, sketches from prior appearances on Saturday Night Live and The Tonight Show, and guest spots by comedians like David Brenner and Bill Cosby, earning a 6.2/10 rating on IMDb for its irreverent humor. This project marked Metter's first credited television special as director and producer, bridging his promotional work with narrative comedy.^[14][3] During the 1990s, Metter focused on family-oriented TV movies and series episodes, often for networks like Disney Channel and ABC. Notable credits include Working Tra$h (1990), a HBO comedy starring George Carlin and Ben Stiller as eccentric janitors plotting a corporate takeover; Summertime Switch (1994), a Disney Channel Original Movie about twins swapping places in time; Billboard Dad (1998), featuring Mary-Kate and Ashley Olsen as siblings scheming to reunite their divorced parents; Passport to Paris (1999), another Olsen twins vehicle involving a trip to France; and The Growing Pains Movie (2000), a Showtime sequel reuniting the Seaver family from the 1980s sitcom. Additionally, he directed the episode "Be True to You" of the Nickelodeon series The Jersey (1999), centered on a magical sports jersey granting wishes to young athletes. These projects emphasized lighthearted, youth-targeted stories, with Metter's direction prioritizing ensemble casts and feel-good resolutions over complex plots.^{[23][29][30][31]}